Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Egypt and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1970.
I'm losing my edge.
To all the kids in Spokane and Bremen.
I'm losing my edge to the art-school Taipei kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lebanon Hanover to the rap kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Scientists. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Bootsy Collins,
Sad Lovers and Giants,
Second Layer,
The Count Five,
Strawberry Alarm Clock,
Bang on a Can All-Stars,
Kauko Röyhkä ja Narttu,
Leonard Cohen,
The Black Dice,
Nik Kershaw,
Audionom,
Fluxion,
Schoolly D,
Deepchord,
Roger Hodgson,
Pussy Galore,
the Germs,
Peter & Gordon,
Lou Christie,
Sam Rivers,
The Dead C,
In Retrospect,
New Order,
Bobby Womack,
Heaven 17,
Soft Machine,
Section 25,
Girls At Our Best!,
The Skatalites,
Intrusion,
Shuggie Otis,
Chris Corsano,
Robert Hood,
Kerri Chandler,
Television,
Sly & The Family Stone,
Public Enemy,
Arthur Verocai,
Eve St. Jones,
the Human League,
Wolf Eyes,
Prince Buster,
Kool G Rap & DJ Polo,
Mantronix,
The Golliwogs,
The Durutti Column,
B.T. Express,
Beasts of Bourbon,
Drexciya,
Urselle,
Soft Cell,
Wings,
Whodini,
Theoretical Girls,
T. Rex,
Oneida,
Erasure,
Rhythim Is Rhythim,
Jeru the Damaja,
Procol Harum,
The Cowsills,
Gang Green,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.